Thursday, January 24, 2019

Friday Feb 8 in St Louis at the Luminary


Freedom in a Platform reopens The Luminary’s reconfigured galleries on March 8th, 2019 with a group show exploring alternate ways of inhabiting both the gallery and the institution.

Freedom in a Platform takes its title from a text by the 17th Century Diggers, who proposed new explorations of social and spatial relations in an upturned environment. Featuring an architectural structure for rest and communal care and a cleaner that chemically cancels itself out, seats cast in birdseed meant to find final form in their unmaking outdoors and a performance that embodies the complex alliances that exist between marginalized communities, Freedom in a Platform opens both an altered physical space and new ways of operating within it.

Continuing our Commoning the Institution thematic program, the exhibition extends the process of a commoned institution, an institution-yet-to-come that opens and continues opening. This show likewise opens but doesn’t quite close, operating on overlapping durations, dispersing to other spaces, and occupying the gallery in ever-evolving contexts..

Freedom in a Platform features work from Sage Dawson, Ohad Meromi, OOIEE, Marina Peng, Sean Raspet, Matt Siegle, and Seth Weiner alongside other gestures and remnants from our previous season, and archives oriented towards the future.

The Luminary's exhibitions are supported by the Andy Warhol Foundation for the Visual Arts, National Endowment for the Arts, the Regional Arts Commission, the Missouri Arts Council and our members.





Thursday, January 17, 2019

MANIFESTOS

https://www.royalacademy.org.uk/article/ten-game-changing-manifestos

Wednesday, January 16, 2019

January-Feb Shows in St Louis



Guan Xiao, Picture Archive The speed, accessibility, and quantity of data we consume via the internet has transformed our relationships to images, objects, and ideas. Guan Xiao explores the impact of the internet on our lives by using it as a tool of exploration. Through sculpture and multichannel videos, Xiao translates ready-made digital images into physical compositions, merging opposing objects and collapsing juxtapositions. Looking at history as a “lump of recycled things in changing packages,” Xiao places discordant objects in proximity to one another. By forming these oppositional relationships, she not only emphasizes how contrasting ideas emerging from disparate points of origin can express similar perceptions, but may also liberate objects from their historical and functional interpretations. CAM will present the Beijing-based artist’s first solo project in the US.